Relevant bibliographies by topics / Circus animals in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Circus animals in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Circus animals in art"

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Januszczyk, Maria. "Niehumanitarność przepisów w zakresie działalności cyrkowej z udziałem zwierząt jako argument za nowelizacją ustawy o ochronie zwierząt i aktów pochodnych." Studia Iuridica, no. 86 (June 14, 2021): 74–90. http://dx.doi.org/10.31338/2544-3135.si.2020-86.5.

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The article explores the issues of circus performances involving animals based on the legal regulations in force in Poland. It contains a short history of the circus and outlines the development of legal institutions regulating its activity according to the legislation of various countries. Moreover, the article discusses current Polish legislation, pointing to its inaccuracies, and provides examples of ineffective law enforcement. It also presents the attempts of local authorities intended to limit circus shows with animals, advances arguments in favor of changing the existing regulations, and formulates de lege ferenda postulates.
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Repertório, Teatro &. Dança. "O CIRCO NA HISTÓRIA: A PLURALIDADE CIRCENSE E AS REVOLUÇÕES FRANCESA E SOVIÉTICA [Mario Fernando Bolognesi]." REPERTÓRIO, no. 15 (July 7, 2010): 11. http://dx.doi.org/10.9771/r.v0i15.5207.

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<div>Este artigo trata do circo como arte plural, que tende a reafirmar a supremacia do homem diante dos animais e da natureza, através da exposição espetacular das suas habilidades. O circo é por excelência o espetáculo da maioridade humana na história, cabendo ressaltar dois momentos históricos em que as artes circenses foram apropriadas: as revoluções francesa e russa.<br /></div><div><div><br>This article deals with the circus as plural art, which tends to testify the supremacy of human being before the animals and nature through the spectacular display of his skills. The circus is par excellence the spectacle of human majority in history, it is worth highlighting two historical moments in which the circus was appropriate: the French and Russian revolutions.</div></div>
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Jia, Susan. "Chinese Circus and its Audiences: Past and Present." New Theatre Quarterly 35, no. 04 (October 8, 2019): 365–72. http://dx.doi.org/10.1017/s0266464x1900040x.

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Circus in China until the 1760s was primarily regarded as an equestrian court performance to entertain nobles of the Qing Dynasty at the inauguration of the Chinese New Year, or to amuse foreign dignitaries bringing tributes. Since that time, circus has transformed into a popular entertainment art, featuring the integration of human, animal, dance, acrobatics, music, vocal, multi-media, and new technologies. In this article Susan Jia revisits the history of circus in China, and then focuses on its latest form of presentation in Shanghai Circus World (SCW), the premier circus establishment in China. The two core pieces in the SCW repertoire – ‘ERA: Intersection of Time’ and ‘Happy Circus’ – are examined to construct a representative miniature of modern Chinese circus, and from audiences’ perspective, the many comments written for online communities are analyzed to explore their understanding of modern circus. Susan Jia is an assistant professor in the School of Business and Management, Shanghai International Studies University. She researches means of developing the leisure and entertainment services industries.
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Bauer, Belinda. "Lions and Chickens: A specimen biography approach to unprovenanced natural history objects." Biodiversity Information Science and Standards 2 (May 22, 2018): e25661. http://dx.doi.org/10.3897/biss.2.25661.

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Taxidermy made for display is often considered less significant in museum research collections. This is because historical taxidermy material often becomes disassociated with key data and through the rigours of public display, end up in poor physical condition. However by tracing a specimen's biography as a living animal and following its transition into a museum afterlife, much can be revealed about the development of natural history collections and changing attitudes towards animals. This presentation will investigate several pieces of taxidermy in the zoology collection of the Tasmanian Museum and Art Gallery (TMAG) (http://www.tmag.tas.gov.au/collections_and_research/zoology/collections), where research has uncovered surprising stories and helped reassess the significance and cultural value of this material. An unregistered lion head, identified as animal celebrity John Burns, tells the story of the golden age of Australian and New Zealand circuses, changing attitudes around animal ethics in the circus and the negotiations between scientific institutions in acquiring exotics species in the late nineteenth century. A collection of taxidermied domestic chickens from the 1940s is found to mark the modernisation of the TMAG public displays in communicating current research and the development of a dedicated museum education unit. The colourful afterlife of these specimens in the museum collection highlights struggles with storage issues, changes in collecting priorities and evolution of public display and education at TMAG.
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Stokes, John. "‘Lion Griefs’: the Wild Animal Act as Theatre." New Theatre Quarterly 20, no. 2 (April 21, 2004): 138–54. http://dx.doi.org/10.1017/s0266464x04000041.

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This essay is concerned with the history of wild animal training between the early nineteenth and the mid-twentieth centuries, specifically with circus acts involving ‘big cats’. The author, John Stokes, is sympathetic to the view that such performances are inhumane, degrading to animal and human alike, but rather than simply rehearsing familiar attitudes, he subjects the ‘big cat’ act to a performance analysis based on established criteria, in the belief that, if performance theory is to have the widespread application that its advocates claim, then it should be able to elucidate many different kinds of theatrical event. His primary materials are the myriad biographies and autobiographies of wild animal trainers that were produced during the heyday of their art, and which he finds to be frequently characterized by an unexpected thoughtfulness and breadth of experience, besides being highly informative about performance aesthetics. John Stokes is Professor of Modern British Literature in the Department of English, King's College London. He is a regular theatre reviewer for the Times Literary Supplement and co-author, together with Michael R. Booth and Susan Bassnett, of Bernhardt, Terry, Duse: the Actress in Her Time (Cambridge, 1988) and Three Tragic Actresses (Cambridge, 1996).
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Timoshenkov, Volodymyr. "What is needed to preserve at least one animal species in a particular protected area?" Novitates Theriologicae, no. 12 (June 16, 2021): 334–41. http://dx.doi.org/10.53452/nt1253.

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The article attempts to find out what role small reserves of protected steppe play in animal conservation. What can be preserved with the help of small reserves: species, population, or a group of individuals? What role do reserves play in each case? The work is based on the author's observations of animals in the territory of Striltsivsky Steppe (division of Luhansk Nature Reserve of the National Academy of Sciences of Ukraine), which at that time occupied an area of 522.7 hectares, as well as and in Khomutovsky Steppe (division of the Ukrainian Natural Steppe Reserve of the National Academy of Sciences of Ukraine) with an area of 1030.4 hectares in the period from 1985 to 2007. Materials of the Chronicles of Nature of these two reserves are also analysed. The problem of species protection is considered on the example of four species: common hamster (Cricetus cricetus), meadow hawk (Circus pygargus), pink starling (Sturnus roseus), and barn owl (Asio flammeus). It is investigated how the protection regime affects the conservation of these species. Reserves here act as territories, as state organizations, and as scientific institutions. It is shown how the use of different functions of reserves and their combinations in relation to a particular animal species can contribute to its conservation.
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Layton, Robert. "Shamanism, Totemism and Rock Art: Les Chamanes de la Préhistoire in the Context of Rock Art Research." Cambridge Archaeological Journal 10, no. 1 (April 2000): 169–86. http://dx.doi.org/10.1017/s0959774300000068.

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Les Chamanes de la Préhistoire: Transe et Magie dans les Grottes Ornées, by Jean Clottes & David Lewis-Williams, 1996. Paris: Éditions Seuil; ISBN 2-02-028902-4 hardback 249FF, 110 pp., 114 colour ills.The Shamans of Prehistory: Trance and Magic in the Painted Caves, by Jean Clottes & David Lewis-Williams, 1996. New York (NY): Harry N. Abrams; ISBN 0-8109-4182-1 hardback, US$49.50, 120 pp., 116 colour ills.Jean Clottes and David Lewis-Williams' recent book Les Chamanes de la Préhistoire builds on a body of rock art research which has come to dominate the field, marginalizing interest in other cultural themes such as totemism and records of everyday foraging. Shamanism and totemism are, however, two of the most pervasive indigenous theories of being to have been discussed in the anthropological literature. The word totem comes from the Ojibwa, a native North American people, while the word shaman comes from the Tungus of central Siberia. Their use cross-culturally to refer to types of religion (i.e. shamanism and totemism), is an artefact of anthropology. Shamanism can be applied to customs that are inferred to have arisen independently in different parts of the world; customs in a single circum-arctic culture area; or scattered survivals from an allegedly original human condition. The cross-cultural validity of shamanism has been considered by Eliade, Lewis, Hultkrantz and Vitebsky. Shamanism refers to the use of spirits as guardians and helpers of individuals, contacted through trance. The validity of totemism as a cross-culturally-valid category has been vigorously debated in anthropology. It is generally agreed to refer to the use of animals or plants as emblems or guardians of social groups celebrated in ritual. The rationale of totemism is that each group is identified with a different species; the significance of each species derives from its place in the cognitive structure. Group A is kangaroo because it is not emu or python. While Durkheim interpreted totemism as the original human religion, Lévi-Strauss persuasively argued that totemism is a product of human cognition, which has developed independently in North America, Australia and Africa.
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Cotgreave, P. "Trained circus animals." British Dental Journal 202, no. 10 (May 2007): 584. http://dx.doi.org/10.1038/bdj.2007.436.

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Share, Bernard, and Brian Sibley. "The Circus Animals' Desertion." Books Ireland, no. 102 (1986): 61. http://dx.doi.org/10.2307/20625718.

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Pospielov, Oleh. "Copyright in the Contemporary Circus Art." Culturology Ideas, no. 14 (2'2018) (2018): 184–91. http://dx.doi.org/10.37627/2311-9489-14-2018-2.184-191.

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The article is dedicated to the research of the problems of obtaining and protecting copyright in the circus industry, the problem of plagiarism in circus art, and the problem of professionalism in the circus performing arts. In Ukraine there is no special Law on Circuses. Because of that there are some difficulties with the application of the Law on Copyright to Circus Arts, in particular to the original stunts, acts and show programs created by circus performers and directors. In the EU, copyright issue is also an important factor for circus artists. The circus performer as a creator of the original act needs legal protection of an individual artistic creation, but it is very difficult to prove and legally justify the individual features of a certain stunt in the circus art. Another performer may bring some small changes to the same trick, and declare it as his original one, and even prove that it differs from the one created by another artist. In the Circus Art, the reproduction and copying of stunts is more in the field of ethics than of legal issues. There is no obvious and quick solution of this problem today.
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Dissertations / Theses on the topic "Circus animals in art"

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Stjernebjerg, Christel Klan. "When Contrasts Joined The Circus : How Defying & Obeying Gravity Revitalized a Suffering Art Form Called 'Circus'." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190594.

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This Master thesis is about Western circus performance styles. It is the aim to describe, compare, and contextualise traits and tendencies of early Western circus performances (EWCP) and contemporary Western circus performances (CWCP) through academic terms. The investigation is centred around the thesis that CWCP have revitalized a suffering and almost dying art form called 'circus' – causing it to reach a new level of social and artistic acceptability in a postmodern world – mainly through the introduction of a significant stylistic feature: Identification. The feeling of a spectator's close emotional association with the action taking place onstage. This feature stands in opposition to the acrobatic skills exposed, and through this implementation, the author therefore claims an exposition of contrasts to occur onstage: The foreign and mysterious combined with the familiar and 'real'. The exposition of superior and seemingly unobtainable physical abilites combined with the exposition of human fragility, flawedness, and inferiority. The spectators' passive observance in awe of an artist flying high and far away combined with spectators' active engagement with an artist staring them closely into the eyes on the ground. The imaginative combined with relatable everyday-like images. Establishing a common ground between artist and audience while at the same time distorting it.  According to the author, the feature of identification has been absent in stylistic expositions of EWCP. This absence is argued to create dichotomous gaps, rather than ties, between sender and receiver as well as between performed images and images linked to 'reality'. The author suggests that these modes were crucial causes of EWCP' decrease in popularity due to the arrival of postmodernism, and that the increasing popularity of CWCP in the later 20th century was due to the elimination of these gaps. The research is done by interweaving 1) historical contextualizations and comparative studies between EWCP and CWCP, 2) discussions of selected circus scholars' literature about circus performances' stylistic developments, 3) the author's embodied experiences with circus performances (ie. as an acrobat in the company Cirque du Soleil), and 4) stylistic analyses of tropes and patterns in selected EWCP and CWCP. Conclusions are reached through the author's constructions of coherence between these aspects. Paula Saukko's eclectic research model has been applied in order to integrate various methodologies. The analyses are based on dance scholar Susan Foster's theory about modes of representations as well as selected rhetorical terms related to stylistics. It is a core aim of this Master thesis to provide studies of circus performances' stylistic executions with more clarifying and adequate terminologies.
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Matthis, Rosa. ""We protect animals well" : A structural approach to abusive conduct within circus schools." Thesis, Linköpings universitet, Institutionen för tema, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177596.

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This master thesis investigates abusive conduct in circus schools. Focus is put on the management level in order to achieve and provide knowledge of measures and attitudes related to prevention. The theoretical framework for the thesis is built on understanding knowledge as situated and the creation of normative borders producing ways for practitioners of identifying with artistic disciplines. Moreover, the thesis takes a structural understanding of abusive conduct. Stating the lack of research within circus schools, the thesis builds upon a research background relying on sports and academia as fields of reference. Research from these related fields are argued to help artistic education such as circus schools to make up for lost time. The data of this thesis comes from a survey conducted within a global federation of professional circus schools, FEDEC, and the results were thematically analyzed in eight categories. The results reflect circus schools as mainly willing actors against abusive conduct. However, the survey also shows a discipline that is in need of deeper knowledge in order to better apply policies and effectively prevent abuse. The respondents show varying degrees of uncertainty regarding policies and in certain cases refer to direct unwillingness to engage with designated safeguarding procedures, attitudes that must be seen as incompatible with management of any artistic school. In conclusion, this thesis argues that circus (and indeed other artistic) schools are in need of better knowledge and further research in order to better account for transparency, active leadership and bystanding dynamics within the specific social fields of the respective disciplines. Finally it is suggested that further research into identifying and naming problems related to cultures of abuse may help circus schools and other social actors within Circus to put these questions on the agenda.
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Bartlett, Heidi Kristen. "Animals be we." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4571.

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Drawing from interdisciplinary sources my work is focused on site-specificity, process, and how we orient ourselves within our landscape. Often searching to locate myself, I look to the potential of environments as conduits for performance and sculptural interventions. The outcome of my research varies from performance and installation, to sound, video, and drawing. Enticed by the relationship between the body and its surroundings, I utilize marks, light, movement, and ritual. Absurdity and fantasy often enter the work, through my unseen labor and created personas, creating a dialog between our symbolic and animal selves.
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Silveira, José Francisco Baroni. "Circo Girassol : o saber circense incorporado e compartilhado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/8587.

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Neste estudo do tipo etnográfico investiguei como se dá o processo de ensinoaprendizagem da arte circense nas oficinas oferecidas pelo Circo Girassol na cidade de Porto Alegre-RS durante os anos de 2004 e 2005, onde participei de reuniões, festas, treinos, ensaios, eventos, aulas, performances, espetáculos, entre outros. Apresento alguns pontos importantes deste trabalho: a minha aproximação afetiva e profissional com o tema de estudo; a possibilidade de refletir sobre as transformações históricas do fenômeno Circo; os caminhos investigativos; o conhecimento do Circo Girassol e suas práticas que, a partir de uma descrição densa, é mostrado no seu processo de construção; o cotidiano dos artistas nas atividades circenses; a dinâmica do grupo; destacando o processo de ensino da arte circense nas oficinas ministradas pelos artistas-professores. Analisei as seguintes categorias que emergiram do campo, a saber: professores e alunos no processo de ensino-aprendizagem: ‘o que’ e ‘como’ é compartilhado o saber circense; a construção de um movimento corporal virtuoso e performático; treinamento, dor e sacrifício: o silenciamento do lúdico. Pensando o corpo a partir de referenciais culturais e históricos e a educação como um processo dialógico, considero que a prática pedagógica da arte circense no Circo Girassol se aproxima da prática da ginástica tradicional, para isso utiliza-se de alguns aspectos referentes ao treinamento físico; busca a construção de corpo e movimento nos moldes do Circo Contemporâneo, ou seja, uma estética de corpo reto, alinhado, com movimentos ‘limpos’, verticalizados em direção a um modelo padronizado tido como correto. Com uma prática docente de demonstração dos exercícios e o ensino centralizado no professor, inviabiliza uma proposta de educação pelo diálogo, reflexiva e lúdica.
In this ethnographic study I investigated the teaching-learning process of the circus art in the workshops offered by the Girassol Circus in the city of Porto Alegre – RS during the years 2004 and 2005, where I participated of the activities like meetings, parties, trainings, rehearsals, events, lessons, performances, shows, among others. I present some aspects that are important in this work: my affective and professional approach with the study subject; the possibility of thinking about the historical changes of the phenomenon Circus; the ways of investigation; the knowledge of the Girassol Circus and its practices which I present in a dense description. I also present the artists daily activities in the circus; the group dynamics, pointing out the teaching process of the circus art in the workshops given by the teachers-artists. In relation to the sharing of knowledge, I analyzed the following categories which emerged from the field: teachers and students in the teaching-learning process as ‘what’ and ‘how’ the circus knowledge is shared; the construction of a virtuous corporal movement; training, pain and sacrifice, the silence of the ludicrous. Thinking the body from cultural and historical aspects and education as a dialogical process, I consider that the pedagogical practice of the circus art in the Girassol Circus has a great similarity to the traditional gymnastics practice, as it uses some aspects of physical training; it searches the construction of body and movement having the contemporary circus as a pattern, in other words, as esthetics of straight bodies, aligned with ‘clean’ movements, uprighted towards a standardized correct model. With a teaching practice of demonstrating the exercises and a teaching-centered attitude, it makes impracticable a reflective and ludicrous proposal of education.
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Moore, Matthew. "If Animals Could Talk." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/40.

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This paper is an investigation of the ideas and philosophies that have played a role in the creation of my thesis exhibition entitled If Animals Could Talk. While my research into the subject of animals and more specifically human/animal interaction has covered a wide spectrum, this paper focuses on several texts including, “Why Look at Animals,” by John Berger and “Simulation and Simulacra” by Jean Baudrillard as being influential in the development of my artwork. This paper also analyzes the work of several artists dealing with human/animal relations. Those artists include Sanna Kannisto, Neeta Madahar and Douglas Gordon.
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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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Wong, Pui Yin Marianne. "The 'siling' (four cardinal animals) in Han pictorial art." Thesis, SOAS, University of London, 2006. http://eprints.soas.ac.uk/28946/.

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The term siling in this thesis, literally "four divine creatures", refers to this group of four animal spirits with directional significance commonly represented in the Han Dynasty and later periods, namely, the qinglong of the East, baihu of the West, zhuque of the South, and the xuanwu of the North. My thesis will explore the place occupied by the second group of four animal symbols in various pictorial art forms among the material remains of the Han, aiming to trace the emergence and spread of the visual representations of the siling. This study argues that, although individual animal images of the siling did not appear simultaneously, and although all four had much more ancient origins and associations with the cardinal directions, it was in the Western Han dynasty and in the neighbourhood of the capital Chang'an that the images of the four animals first emerged in a consistent iconography. The major concern of this research project is the meaning and usage and of the set of siling symbols, mainly in Han funerary contexts, taking into account relevant textual sources and the association of the siling with Han cosmological thought and some of the intellectual ideas that were predominant during the Han dynasty. By means of a comprehensive study of the set of siling representations, I aim to contribute to the knowledge of Han period archaeology and provide a new channel for the understanding of Han dynasty culture and beliefs.
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Edwards, Peggy Ann. "Portmanteau." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3227.

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Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains iv, 12 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 4).
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Boochard, Bonnie K. Foss. "The Company of Animals: a Nontoxic Approach." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0402101-122123/unrestricted/boochard0419.pdf.

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Nagata, Camila. "All Animals Will Get Along in Heaven." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3634.

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My final thesis exhibition is directed towards children and parents. My goal is to create a connection between parent and child, and their past, present, and future through memory. Such a connection is accomplished through the implementation of these three different ideas in the artwork: 1) creating different layers of understanding, 2) producing everlasting memories, 3) connecting adult viewers to their past. In addition, I use principles as the foundation for each piece, such as the principles of kindness and learning. These principles are presented to the viewer through parables of current social and political issues, illustrated through my own cultural and artistic backgrounds. I am interested in planting good principles in the memories of the children and incentivizing parents to think about the impact the world around us has on their children.
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Books on the topic "Circus animals in art"

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Sanger, Mike. Two dogs, a donkey, and a Frenchwoman: The life, legacy, and adventures of a traveling canine comedy act. Shaftsbury, VT: Mountainside Press, 2007.

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Circus. [New York, NY]: HarperCollins, 1992.

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Ai, Weiwei. Ai Weiwei: Circle of animals. Munich: Prestel, 2011.

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Romero, Armando. El zoológico de los animales fantásticos vivos: Febrero-abril 1999. Garza García, Nuevo León, México: Museo El Centenario, 1999.

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Foundation, Born Free. It's time Parliament changed its act: An examination of the state of UK circuses with wild animals. Horsham, West Sussex: Born Free Foundation, 2006.

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On parade: The hidden world of animals in entertainment. Markham, Ont: Fitzhenry & Whiteside, 2010.

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Circus animals. Boston: Little, Brown, 1985.

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Circus animals. San Diego: KidHaven Press, 2003.

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Chung, Anita. Ai Weiwei: Circle of animals/Zodiac heads : July 27, 2013-January 26, 2014, the Cleveland Museum of Art. Cleveland, Ohio: Cleveland Museum of Art, 2013.

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Plunkett, James. The circus animals. London: Arrow, 1991.

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Book chapters on the topic "Circus animals in art"

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Lummaa, Karoliina. "An avian–human art?" In Affect, Space and Animals, 163–78. Abingdon, Oxon ; New York, NY : Routledge is an imprint: Routledge, 2015. http://dx.doi.org/10.4324/9781315686691-13.

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De Haro De San Mateo, Ma Verónica, and Garry Marvin. "The Bullfight in Twenty-First-Century Spain: Polemics of Culture, Art and Ethics." In Cosmopolitan Animals, 93–106. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137376282_7.

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Orozco, Lourdes. "Animals in Art, Spectacle and Text: A Brief History." In Theatre & Animals, 8–20. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-10431-1_4.

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Sinowitz, Michael. "The Benefits of Watching the Circus Animals Desert: Myth, Yeats and Patriarchy in Angela Carter’s Nights at the Circus." In Metafiction and Metahistory in Contemporary Women’s Writing, 102–15. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206281_8.

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P R, Nisha. "Introduction." In Jumbos and Jumping Devils, 1–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199496709.003.0001.

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Circus in the subcontinent is embedded with the arrival of the modern and the recasting of body and its caste and gender structures; new trans-cultural and transnational spaces that emerged with this itinerant entertainment; technologies of the tent; and the acquisition, taming, and training of animals whose past is deeply implicated in the history of hunting, wildlife management, and forest policies of the colonial and post-colonial states in India. Subcontinental regions such as Kerala and Maharashtra have rich histories of circus acrobatics and animal training that span over a century. However, autobiographies, personal histories, and memoirs are very rare. While looking at the history of Indian circus, the major challenge is the lack of archival sources, both public and private. Memories and memorabilia of the circus community have been rich sources for the author. The book explores some key moments and aspects in the different spaces of the circus in this part of the world, spanning over a hundred years.
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WOLFE, JESSICA. "CIRCUS MINIMUS:." In Performing Animals, 111–22. Penn State University Press, 2017. http://dx.doi.org/10.5325/j.ctv14gpcfw.11.

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Burdick, Dave. "Art Circus." In Entrepreneurship in Action, 77–87. Edward Elgar Publishing, 2021. http://dx.doi.org/10.4337/9781839102943.00018.

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Orning, Sara E. S. "Staging Humanimality: Patricia Piccinini and a Genealogy of Species Intermingling." In Animalities. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474400022.003.0005.

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Orning raises questions about the provocative work of Patricia Piccinini, a contemporary sculptor and artist. Piccinini’s work often stages encounters between what look like human figures and what look like hybrid creatures with both human and nonhuman characteristics. Orning’s focus in these “humanimal” encounters is on the potential they hold for questioning easy distinctions between “the human” and “the animal”, while also drawing attention to the fact that human beings today can already be seen as hybrid, whether we have tissues or organs implanted from nonhuman beings or we recognize that human bodies are made up of cells and micro-organisms that are not necessarily human. Orning connects the uneasiness associated with unsettling what it means to be human to a longer genealogy of putting “monstrous” or “freakish” bodies on display, whether in the form of humans with animal-like features, or animals with human features, particularly in nineteenth-century circus sideshows. But the “species intermingling” that is staged by Piccinini, according to Orning, holds more potential for ethical engagement with “others” of various kinds or species than earlier settings such as freak shows.
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Tait, Peta. "History of Circus Animals." In Handbook of Historical Animal Studies, 457–70. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110536553-035.

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"Chapter Four. "No Circus Without Animals"?: Animal Acts And Ideology In The Virtual Circus." In Knowing Animals, 79–104. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004157736.i-296.39.

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Conference papers on the topic "Circus animals in art"

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Zuo, Guohua. "Research of Animals' Subconscious Art Creation." In 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.20.

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"Title: “Flying animals and the art of presentation” brief." In 2018 IEEE International Conference on Consumer Electronics (ICCE). IEEE, 2018. http://dx.doi.org/10.1109/icce.2018.8326337.

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Guneri, A. "Styles of the petroglyph art of Mongol Altay: movements of the legs of animals." In Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.141-144.

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Reily, Lucia. "A ceramics project with deaf children: Creating Brazilian rainforest animals in clay." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-41.

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Bakana, Sibusiso R., Yongfei Zhang, and Bhekisipho Twala. "Mitigating Wild Animals Poaching Through State-of-the-art Multimedia Data Mining Techniques: A Review." In IPMV 2020: 2020 2nd International Conference on Image Processing and Machine Vision. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3421558.3421584.

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Friedemann, Jochen, Daniel Schock-Kusch, and Yury Shulhevich. "Transcutaneous measurement of glomerular filtration rate in conscious laboratory animals: state of the art and future perspectives." In SPIE BiOS, edited by Samuel Achilefu and Ramesh Raghavachari. SPIE, 2017. http://dx.doi.org/10.1117/12.2250887.

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Morgan, Eric R., and Michael W. Shafer. "Marine Energy Harvesting Using Magnetohydrodynamic Power Generation." In ASME 2014 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/smasis2014-7636.

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Energy harvesting is widely used in terrestrial and aerial sensor applications but is conspicuously absent in the marine environment despite several possible harvesting modalities and numerous applications. One such energy harvesting modality is to use magnetohydrodynamic (MHD) power generators to directly produce electricity from flowing seawater. Fundamentally, MHD generators convert the kinetic energy of a conductive fluid directly into electricity by separating charged particles, thereby generating an electric field transverse to the direction of fluid flow and the magnetic field. The electric field is then accessed with an external circuit to provide power to a load. Since the power output from an MHD generator is linearly related to the conductivity of the flowing fluid and to the square of both the magnetic field strength and the fluid velocity, strong magnets and high fluid velocity are desirable. Thus, there are a myriad of possible MHD generator configurations available to maximize power output under various conditions and constraints. These include configurations of permanent magnets that offer localized high magnetic fields or geometries of the fluid duct that can be used to increase the fluid velocity through the magnetic field. One novel application for MHD generators is to power sensors and bio-loggers used in marine animal telemetry. The animal sensors are designed to take time-series measurements and store the data on the logger for transmission to satellite networks or human retrieval. These sensors and loggers are often battery-limited which constrains either the data fidelity or the longevity, or both. An MHD generator attached to a marine animal can help to supplement some of the sensor or bio-logger power requirements, thereby increasing sensor lifetimes and data fidelity. Thus, MHD generators will enable new research in the marine sciences, climatology, and biology, among others. The MHD generator can be positioned above the fluid boundary-layer so that the fluid flow around the animal is channeled through the MHD generator, producing electricity. In this work, we will develop some of the fundamental equations that describe the physics of an MHD generator and use them to make estimates of the potential power outputs that could be expected from various marine animals. We will also investigate several electrical configurations of the MHD to determine the most suitable MHD generator for different flow regimes. Initial studies suggest that MHD generators are viable power sources in the marine environment and can easily supplement the entire energy budget of a bio-logger under certain conditions.
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Antonov, I. M. "ILLEGAL EXTRACTION AND CIRCULATION OF ESPECIALLY VALUABLE WILD ANIMALS AND AQUATIC BIOLOGICAL RESOURCES: ISSUES OF PENALIZATION." In Problems and mechanisms of implementation of national priorities of socio-economic development of Russia. Khabarovsk State University of Economics and Law, 2020. http://dx.doi.org/10.38161/978-5-7823-0740-0-2020-239-244.

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The paper deals with certain issues of legislative (legal) penalization of illegal extraction and circulation of especially valuable wild animals and aquatic biological resources. The sanctions established by art. 2581 of the Criminal Code of the Russian Federation. The author comes to the conclusion that the penalization of these crimes was carried out suboptimally, and the design of the sanctions provided for their commission requires improvement
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Svartholm, E., U. Haglund, J. Ljungberg, and U. Hedner. "THE EFFECT OF APROTININ ON EXPERIMENTAL PORCINE SEPTIC SHOCK." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644243.

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Septic shock induces pronounced haemodynamic changes resulting in pulmonary microemboliz., complement activ. and an activ. of the coag. and fibrinol. systems. Only minor effects on the sepsis-induced changes were found on pretreatment with a variety of platelet aggr. inhib. (Svartholm et al 1986). Aprotinin inhibits among other enzymes kallikrein. Endotoxin shock was induced in 12 pigs by i .v. inf. of E.coli, six of vdiich got Aprotinin i.v. (1000000 KIE) immediately before the E.coli infusion. Another 6 pigs were used as controls. Haemodynamic parameters, platelet counts, fibrinol. act., fibrinogen, ATIII, and ethanol gel. test were measured before the infusions, 8,60, 90-120, 150-180 min after. Ihe haemodynamic parameters stayed unchanged in the control pigs. In the E. coli-treated animals cardiac output and the mean art. pressure decreased signif. On the other hand, the mean pulm. art. blood pressure and the pulm. vase, resist, increased signif. Ihe increase of the pulm. resist, was less pronounced and reversible in the Aprotinin treated animals. Ihe pulm. vase, resist, in the E.coli group increased contin. from 2.8ଐ.2 mm Hg before to a max. of 23.4 mm Hg at the end of the obs. time and in the Apro-tinin-treated animals from 2.0ଐ.3 to 6.6଑.9 mm Hg (8 min after the inj.) being down to 4.4ଐ.2 at the end of theexp.The platelet decrease was less pronounced in the Aprotinin pretreated group, the ethanol gel test turned pos. in the E.coli group after 60 min but stayed neg. in both the contr. and the Aprotinin pretreated animals. Fibrinolytic act, was seen in all E. coli-treated animals but stayed neg. in the contr. Moderate changes were seen in ATIII and fib. gen in all E.coli-treated pigs. All animals treated with only E.coli died at the end of the obs. time but none in the control group and none in the Aprotinin pretreated groupIn conclusion Aprotinin seems to prevent the secondary fatal increase in pulm. resist, most probably caused by pulm. oedema and a gen. activ. of the coag. syst. (ethanol gel. test stayed neg.)
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Bondi, Elizabeth, Ashish Kapoor, Debadeepta Dey, James Piavis, Shital Shah, Robert Hannaford, Arvind Iyer, Lucas Joppa, and Milind Tambe. "Near Real-Time Detection of Poachers from Drones in AirSim." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/847.

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The unrelenting threat of poaching has led to increased development of new technologies to combat it. One such example is the use of thermal infrared cameras mounted on unmanned aerial vehicles (UAVs or drones) to spot poachers at night and report them to park rangers before they are able to harm any animals. However, monitoring the live video stream from these conservation UAVs all night is an arduous task. Therefore, we discuss SPOT (Systematic Poacher deTector), a novel application that augments conservation drones with the ability to automatically detect poachers and animals in near real time. SPOT illustrates the feasibility of building upon state-of-the-art AI techniques, such as Faster RCNN, to address the challenges of automatically detecting animals and poachers in infrared images. This paper reports (i) the design of SPOT, (ii) efficient processing techniques to ensure usability in the field, (iii) evaluation of SPOT based on historical videos and a real-world test run by the end-users, Air Shepherd, in the field, and (iv) the use of AirSim for live demonstration of SPOT. The promising results from a field test have led to a plan for larger-scale deployment in a national park in southern Africa. While SPOT is developed for conservation drones, its design and novel techniques have wider application for automated detection from UAV videos.
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Reports on the topic "Circus animals in art"

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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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